A 35-year-old married virgin has a fling
with a passing stranger which shocks the community.

In a small
town in Illinois manners are very strict. But hypocrisy
and puritanism of this town will be subjected to severe
stress, when a 35-year-old married Lyle will have a
whirlwind romance with a French newcomer Juliette. Their
relationship is so free and shockingly, that will surely
lead to conflict.

Review: Small farm town that is on the ground Lyle - a
man who is "too much flesh." These rumors about the town
and everything is sort of used to, but then there is a
Frenchwoman who develop this myth. Lyle happy that
finally it can be with this woman, not his wife''s death
is blackmailing former lover and strict puritanical
views.
"Too much flesh" is clearly not a film about dreamers as
it may seem in the picture. He is very specific -
alienation and melancholy. Faded colors and simple plot,
but it is the highlight.

Review:
‘Too Much Flesh’
Almost the best thing to be said about Jean-Marc Barr''s
insubstantial 1999 debut, "Lovers," was that the
actor-turned-director at least had the modesty not to
star. The same virtue doesn''t hold for his followup,
"Too Much Flesh" -- co-directed and written with d.p.
Pascal Arnold -- which completely redefines the term
"vanity production." Opening with Barr sun-kissed, naked
and masturbating in an Illinois cornfield, then
proceeding via a drastically under-fleshed narrative to
tell the tale of a man whose intimidating penis size
dictated 20 years of sexual abstinence until a French
babe sashays along to break the dry spell, this empty,
unconvincing drama looks unlikely to see too much
exposure of any kind.

Basically a shagfest with delusions of content, the
English-language film is the second in the directors’
Liberty trilogy on the freedom to love. While “Lovers”
went out under the Dogma banner, the new, digitally shot
offering maintains many of the Danish group’s tenets of
technical austerity without adhering to its codes. Put
more bluntly, it’s a cheap quickie without a budget.

Set in a present-day Illinois farming community, the
story centers on 35-year-old landowner Lyle (Barr), who
lives chastely with his buttoned-up fundamentalist wife
(Rosanna Arquette). She remains faithful to the memory
of her deceased first husband and fearful of the
legendary dimensions of her new man’s member, which,
naturally, the audience never gets to size up.

Things change when Vernon (Ian Vogt), an old childhood
friend of Lyle’s who’s now a celebrated author, returns
to town with his Parisian clinch, Juliette (Elodie
Bouchez). It’s only a matter of time before bookish
Vern’s sexual inadequacies are exposed and Juliette
leads love-starved Lyle into the cornfield. But when
their libertarian sexual tryst becomes public domain and
their free-thinking ideas start to contaminate the
puritanical community, the local Bible-thumpers turn
ugly.

While they all appear to take the risible material quite
seriously, the urbane cast looks out of place, like
they’d all rather be rummaging for bargains at the Prada
sale than showing up for a harvest hoe-down. When in
doubt about how to advance the wafer-thin plot, Barr and
Arnold merely toss in another extended sexual tussle,
with the camera endlessly exploring Bouchez’s naked body
and Barr’s more strategically masked one, which may at
least facilitate some video sales for this flaccid piece
of posturing erotica.